Made in Russia: The Holocaust

A stumbling block for Revisionists, just as it was for the postwar
German defendants, is the seeming wealth of documents and testimony
assembled by Allied prosecutors for the Nuremberg trials. The more than
sixty volumes of trial material which appeared in the wake of the "Trial
of the Major War Criminals" and twelve subsequent trials before the
(American) Nuremberg Military Tribunal have for many years supplied a
massive compilation of apparently damning evidence against Germany's
National Socialist regime. Most Exterminationists, academic and lay,
believe that Germany's "aggression" in beginning the war, and the
numerous atrocities and war crimes laid to the German account, above all
the alleged Holocaust of European Jewry, are amply documented in the
so-called "Nuremberg record."

A critique of the Nuremberg trials, from a number of different
angles, has been a staple of Revisionist writing since the trials.
Revisionist authors who chose not to contest directly the Holocaust
charges (e.g. F.J.P. Veale) attacked the trials for their various
failings in equity, jurisdiction, etc. Holocaust Revisionists, such as
Arthur Butz and Robert Faurisson, have focussed on specific abuses
involved in producing testimony and evidence in support of the
Holocaust, from physical and psychological pressure exerted to obtain
confessions and affidavits to the authenticity of certain of the
documents transcribed and reproduced in the various Nuremberg volumes.

To date no Revisionist, Holocaust or otherwise, has mounted an
assault on the Nuremberg "evidence" equal in intensity to that
undertaken by Carlos W. Porter in Made in Russia: The Holocaust. Porter's technique is to confront the documents directly, by reproducing page after page from the 42-volume Trial of the Maior War Criminals (the Blue Series).

Porter's tactic is audacious and provocative: he gives Allied
prosecutors and their witnesses the floor and lets them strut their
stuff for a good seventy-seven pages before deigning to answer their
charges at any length. The catch is that most of the charges are so
bizarre that Exterminationists have long since quietly let them lapse.
Porter will have none of this, however: a stern Ghost of Holohoaxery
Past, he puts the Nuremberg trials on trial by forcing the reader to
confront the sort of tripe with which American, Soviet, British, and
American prosecutors burdened the Germans and their leaders.

How many people know that at Nuremberg the Germans were accused of, along with killing about six million Jews:

vaporizing 20,000 Jews near Auschwitz with atomic energy";

killing 840,000 Russian POW's at Sachsenhausen concentration
camp (in one month, with special pedal-driven brain-bashing machines, no
less), then disposing of them in mobile [sic] crematoria;

torturing and killing Jewish prisoners to the tempo of a specially composed "Tango of Death" in Lvov;

steaming Jews to death like lobsters at Treblinka;

electrocuting them en masse at Belzec;

making not only lampshades and soap but also handbags, driving
gloves, book bindings, saddles, riding breeches, gloves, house slippers,
etc. from the remains of their victims;

killing prisoners and concentration camp inmates for everything from having armpit hair to soiled underclothing?

Each of these grotesque claims is on display in Made in Russia,
reproduced just as it appears in the Nuremberg volumes, and handily
underlined and referenced for the convenience of researcher and skeptic
alike.

After a sobering (or hilarious, depending on your point of view)
survey of Nuremberg atrocity "evidence," Porter reminds readers that at
Nuremberg the Soviets introduced reams of so-called evidence purporting
to demonstrate that it was the Germans, not Stalins's henchmen in the
secret police, who murdered over 4,000 Polish prisoners at Katyn, near
Smolensk. As the author points out, an official Soviet stamp sufficed to
make false affidavits, phony confessions, faked forensic reports and
the like "evidence" admissible at Nuremberg under Articles 19 and 21 of
the London Agreement of August 8, 1945, in which the Allied lawyers
devised the rules which would bind judges and defense attorneys at the
forthcoming "trial." Americans, Britons, and Frenchmen currently
gloating over Soviet discomfiture at the recent insistence of the Polish
regime on finally laying the blame for Katyn where it belongs should
recall that the Western Allies said not a public word at Nuremberg to
challenge the Soviet "evidence" on Katyn (the judges quietly glossed
over the Red charges by omitting them from their verdict).

It is the special service of Made in Russia: The Holocaust to
remind readers that the same Soviet stamp which converted the fake Katyn
reports into admissible evidence at Nuremberg also provided proof of
the extermination of millions of Jews at Auschwitz, Majdanek, Treblinka,
and elsewhere. As Porter emphasizes, physical and forensic evidence for
the Holocaust was never introduced, nor is there any reason whatsoever
to imagine it ever existed. All we have is a handful of "testimonies,"
and "confessions," and the reports of a number of Soviet or
Soviet-controlled "investigative" commissions. If there was a Soviet
Fred Leuchter, we have yet to hear from him (and probably never will).
The same Red prosecutors who framed the victims of Stalin's purges at
the Moscow show trials, and sent millions of innocents to their deaths
in our gallant Soviet ally's Gulag archipelago, are the chief source for
the vaunted Nuremberg evidence of the "Holocaust."

Porter provides numerous examples of prosecution tactics, usually
allowed by the judges, which would make hanging judge Roy Bean, or even
Neal Sher, blanche. He points out that the prosecution made it
difficult, if not impossible, for the defense lawyers to have timely
access to the documents introduced into evidence by the prosecution;
that "photocopies" and "transcripts" were almost invariably submitted in
evidence by the prosecution instead of the original German documents,
which in very many cases seem today to have disappeared; that the
defendants rarely were able to confront their accusers, since
"affidavits" from witnesses who had been deposed months or even weeks
before sufficed; etc., etc., etc.

The author touches on many other aspects of the Holocaust legend,
from the feasibility of homicidal gassing with Zyklon-B to the ease with
which atrocity photos can be faked (just supply the right caption!) to
the Allied prosecutors' propensity for introducing page after page of
irrelevant evidence (Porter reproduces several cartoons from Julius
Streicher's anti-Jewish Der Giftpilz [The Toadstool] which found their way into the "Nuremberg record").

Made in Russia: The Holocaust is vulnerable to several minor
criticisms. The many photographs which appear in Porter's book might
have been better reproduced. Lawyers may cavil at a few of his
interpretations, and doubtless other Revisionist researchers will find
bones to pick here and there in some of his assertions on Zyklon, gas
chambers, etc.

On balance, however, Made in Russia: The Holocaust is a book
with something of value for every reader with an interest in
Revisionism. Porter, a professional translator and businessman, writes
with a mordant irony (the sillier Exterminationists may find a treasure
trove of new atrocities to bewail here) and an admirable concision: Made in Russia
can be gotten through in an hour and a half. After reading it,
Revisionists will no longer be in the least awed by the Nuremberg trial
volumes, and it is to be hoped that Porter's book will stimulate them to
consult this dubious "record" for themselves.